Some teenagers want to obtain a boat to find a brother. When they look around a boat without permission, they find a thief who takes them on his escape. They are caught in a storm and arrive at Letchi Island where natives of Infant Island have been enslaved by the terrorist organisation Red Bamboo. Red Bamboo runs a heavy water factory to process a juice which holds off the monster, Ebirah, which otherwise traps them on the island. The young men meet beautiful but tough Daiyo and wake up Godzilla to put an end to the Red Bamboo.Written by
Scott Hutchins <firstname.lastname@example.org>
For the Columbia/Tri-Star U.S. DVD release, which uses the original uncut Japanese version, the English language credits list the noted composer Masaru Sato as "Mararu Sato." See more »
The original version featured a couple of scenes in which Ryota first goes to the Maritime Safety Office and then to a newspaper reporter to ask for help in locating Yata. It is while he is at the newspaper office that Ryota sees a poster on the wall about the dance contest. See more »
Almost all Kaiju flicks involve two story lines, the story of the little guys and the story of the monsters. This is one of them where the story of the little guys is what really matters. A distinctly B movie, half-espionage and half-island-action, about a guy's search for his brother and getting caught up with a gang of various other guys and a beautiful native to stave off an organization's evil deeds in the South pacific. Pretty scenery. Pretty natives. Some fair jokes and some good 1960's style cheese action. Even Ebirah, a jumbo jumbo shrimp who guards the island, more or less, works well enough as a background piece. It is when the big piece of seafood tries to take center stage that things start slowing down.
By the time Godzilla shows up, the movie suffers from the monsters. Not only does the original Japanese soundtrack have a habit of playing just about the most inappropriate music for all of his scenes (look, jets are coming, let's play surf rock...he's smashing a base, let's play slow horror mood music); but there is the distinct problem the director has in getting the transition from Godzilla as a monster to a potential hero down right. Too often, Godzilla's actions make no sense. He seems to like people in one scene. In the next, he is randomly destroying things again.
The movies final problem is the Kaiju fights sort of repeat themselves. Whether it be the two monsters throwing rocks back and forth more than once, or the exact same "flip" later on, it does seem a little out of place.
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